Friday, September 09, 2011

These Are the Porridges of the Starship Enterprise


Star Trek: The Next Generation (1987) [85]

Commentary by episode; that's how the stories are divvied up, as opposed to Deep Space Nine which contained much more large-scale plots and subplots with characters who have ulterior motives and ulterior ulterior motives.

Code of Honor (1.03) I had a good laugh when I looked up this episode on some sort of The Next Generation wiki and noticed that people viewed it with general disdain and had summarily dismissed it as "racist" without offering a cogent reason as to why. Naturally no mention was made as to the actual meaning of the episode, despite how the word "honor" is very carefully chosen in its use during the episode. So even if you haven't yet figured out precisely what the episode is saying about honor, you at least know where to begin your search.

In Code of Honor, the Enterprise visits an unfamiliar alien world. They are the only known source of a chemical that is a vaccine to a disease devastating some Federation colonies, and this chemical cannot be synthesized or created in any other manner. Picard opens diplomatic relations with the leader and things go smoothly. The leader of the alien race visits the Enterprise and is very impressed. His people are not as technologically advanced as the Federation. We also learn that their society has many rules and customs, and that citizens are deemed honorable when they adhere to them. The alien leader is impressed with Tasha - his society is patriarchal while on the Enterprise a person of either gender can hold a position provided he or she has the merit. As the alien leader teleports back to his home, he grabs Tasha and is gone. They do not respond to the Enterprise's warning shots or threats. After research Data learns that this display was not meant as a hostile action. Rather, the goal was to show bravery in the face of a superior foe, and to gain honor when such a foe acknowledges the bravery. Picard says something to this effect, and friendly negotiations resume. The cultures decide to have a dinner banquet that evening to retrieve Tasha. (It is noteworthy that the Enterprise must act according to the strict customs of the aliens otherwise they will not be given the vaccine.)


Things begin to turn sour when spontaneously at the banquet, the alien leader finds that he is attracted to Tasha and does not want to give her up. He offers her a position as his first wife. This would demote his current first wife, who according to their customs challenges Tasha to a duel. Picard intervenes, but has no choice but to allow the duel or they will not acquire the vaccine. Tasha has Starfleet training so she is confident in her ability to fight. Picard talks to the alien leader and we discover something crucial about their law. On the alien world, women own property while men control and manage it. When a first wife dies, the man's second wife gains the property. (Or his new wife later.) Thus we realize that the alien leader's selfish desire to add another wife to his roster at the expense of another has a favorable outcome for him, regardless of who wins the duel. But the alien does not see his act as overt selfishness. It is simply the law of the land, and he gains honor either way as long as the rules are followed.

At this point the Enterprise plays a trick on the aliens. Tasha indeed wins her duel. The two women fight with posion-tipped gloves, and after the hit, Tasha and the alien's wife beam back to the Enterprise where Dr. Crusher administers the antidote to the wife. Baffled, the alien leader comes aboard demanding to know what happened. The Enterprise states that via their technology they brought the wife back from the dead. The alien leader is skeptical but does not wish to test the process himself. And this spells bad news for him. Because his wife died, their mating agreement died with her. But because she returns alive, she maintains control of her land. This robs the alien leader of all his authority. His wife takes a new husband and accepts him only as an alternate husband. Tasha makes a remark recognizing how much the alien leader lost in this transaction. He straightens up and projects affected satisfaction, saying "I still have my honor." This is the point we realize that honor is itself a manufactured social construct designed to provide justification for members of society to play by the rules of a game that is clearly rigged. Only through higher powers do the unjust receive what they deserve.


Q returns in Hide and Q (1.09) to unleash more mind games upon the Enterprise. He interrupts their rescue mission to subject them to a series of trials to see whether they can adapt and survive. He begins with simple war games but things grow more complex. When Tasha refuses to play the game at all, Q sends her into a "penalty box" back on the Enterprise. He explains that if anyone else commits any infractions they will also be sent to the box. However, the box can only hold one person, so that person would occupy the space, removing Tasha from existence. Picard solves this problem when he demonstrates to Q the willingness to assist and comfort those of lower status. Q does not comprehend the compassion but accepts that it must be part of the human mystique he does not understand.

In fact, Q doesn't understand the entire way of thinking that drives humanity to excel, grow, and change. His species is already perfect, with the ability to do anything, from manipulating time to preserving or destroying life. But he is worried if humans continue to improve at their exponential rate, his continuum may one day have competition. Thus he offers a compromise to Riker; receive the powers of the Q, but join the continuum so that they may observe how his behavior affects them. Q makes a wager with Picard that Riker will be unable to refuse the powers of the Q. Q then puts Riker into several situations where he must use the power to save lives.

When the Enterprise crew completes their rescue mission and returns to the bridge, they meet to determine how things should change with Riker and his new abilities. Some of the crew despise his powers because they despise the entity that bestowed them. Picard is worried about how the incredible abilities will affect Riker's behavior, but Riker remains unconcerned. He dismisses the old adage that power corrupts because he can use his powers responsibly, to preserve life and create happiness. Q returns at this moment when Riker offers to use the powers to give the bridge crew things they have always wanted. Picard agrees to this display because he understands even with powers Riker cannot overcome the fundamental human equation: humans thrive during times of challenge, when needs outweigh abilities, and collapse from complacency, when their abilities exceed their needs. Riker attempts to grant several members of the crew what they desire most, but they unilaterally refuse because they do not derive satisfaction from simply receiving their objectives, but from earning them. The wisdom is that humanity's identity is inseparable from its imperfection.


When the Bough Breaks (1.16) is not intimately layered but nevertheless a clever parable. The Enterprise is led to a planet with wondrous technology including a planet-wide shield and cloak as well as a computer guardian that handles all day-to-day living necessities. These devices were created millennia ago and the planet's current generations do not understand how they work, but only that they do. For reasons they suspect are genetic, the residents have also become sterile. The literal problem is also a figurative one; their society is at risk of ruination because they have grown complacent - what they have is adequate so there is no need to understand or question it. The unwinding that occurs at the end is that the people must abandon the technology because it is the source of the sterility. Society's lifeline is its desire for self improvement.

I'm going to pull an Armond White and say Home Soil (1.17) better than the popular Measure of a Man (2.09). The idea of the two episodes are similar - they define individual life as being able to think for one's self, rather than simply organic / inorganic - except Home Soil opts for slow-boil mystery while Measure of a Man adopts the Dramatic Courtroom trope. Furthermore Home Soil has broader implications; a tale about a group of terraformers resurfacing a planet that houses inorganic life forms who fight back against them, the episode understands that mankind's inability to adapt ideologies it takes for granted is the quickest way to find yourself at the wrong end of a laser cannon.


A Matter of Honor (2.08) is a low-key episode where Riker accepts an assignment on board a Klingon ship as part of Starfleet's officer exchange program. At the same time, an alien officer from a different species temporarily takes an ensign position on the Enterprise. The goal of the episode is to contrast motivation and values across both races.

The introduction to the episode foreshadows the ideas that are to follow. Riker and the Enterprise arrive at a star base to pick up new crew members, and the routine exchange is handled promptly and matter-of-factly, as Riker issues orders down the chain of command. The new alien officer who comes aboard the Enterprise is a Benzite and not accustom to multi-layered management; he irks Riker from the start by addressing Riker directly, outside the chain of command. (Later Picard makes it known that he must use the chain of command regardless of the situation, unless directly told otherwise by a superior officer.) The chain of command is a process that filters all communication so that only the most urgent issues reach the top; likewise, the top can issue general orders that middle-ranked officers then tailor to their specific areas. However, Picard understands that humans are not motivated by the chain of command. This is demonstrated in the following scene when Picard first mentions the exchange program to Riker in the phaser range. He does not thrust the assignment upon him as an order; instead he coyly explains it, suspecting that Riker will request the job himself. The two volley back and forth with their words before Riker must come out and volunteer for the mission. Humans are often more accepting of tasks they voluntarily choose than those that are assigned to them.

Before Riker transfers to the Klingon ship, Worf hands him a portable rescue beacon. Riker asks if the gesture was intended as sentiment. Worf responds that it is merely efficiency. This foreshadows the Klingon's indirect emotion; they prefer to act, and have the result of the action speak for itself as to the emotion of the bearer. (This is counterpoint to the Benzite, who babbles to Riker about his good intentions the moment they meet.)

Riker is concerned about a process that occurs on Klingon ships called the weakening. It is a practice that promotes survival of the fittest; a subordinate may fight and kill his direct superior officer and replace him, provided that his behavior is inadequate. Riker assumes the same role on the Klingon ship as the Enterprise - second in command - meaning he has a captain he must observe for weakness, as well as himself, since the second officer will be observing him for the same symptoms.

Almost immediately Riker escalates things to physical altercation between himself and the second officer aboard the Klingon ship. He puts the man in line, and the second officer is satisfied; the chain of command is very motivating to the Klingons as long as they observe the prowess of their commanders.

During dinner the second officer explains to Riker a bit about his family and history. He mentions that his father was captured in a battle with the Romulans (rather than dying with honor in that battle) and has since escaped with his life, returning to the Klingon homeworld where he simply rests - battered, dispirited and awaiting death. Riker is surprised that the Klingon states that he detests his father now, and will not comfort or reassure him. "Klingons do not express feelings the same as you." This solidifies the Klingon nature of emotion; the second officer himself acts as an example for his wayward father. His desire for his father to return to glory is shown through his behavior.

It turns out that a space organism that corrodes metal has gone unnoticed and attached itself to the Klingon ship. The organism also spread to the Enterprise when the two ships met to transfer Riker. The alien exchange ensign on the Enterprise was in the position to notice the organism, but did not bring it to anyone's attention because in his culture it would be improper to introduce a problem without also offering an explanation and solution. The Klingon captain discovers the corrosion and suspects the Enterprise is responsible because their records show the Enterprise scanned that area of their ship, yet Picard did not alert them to its presence. They prepare for combat with the Enterprise, who doubles back in an attempt to alert them of the problem when they diagnosed it on their own ship.

Riker understands the miscommunication but cannot convince the Klingon captain of the Enterprise's virtuous intentions. His only option is the weakening. Riker uses the beacon he obtained from Worf, but instead gives it to the Klingon captain, who is transported over to the Enterprise. Riker takes command of the Klingon ship and averts the crisis. Riker "forces the surrender" of the Enterprise in an effort to appease the battle-ready Klingons. He displays his own Klingon brand of emotion here; his actions save the ship from destruction at the hands of the superior Enterprise, and in turn display his loyalty to the Klingons. Riker furthermore understands that he has publicly emasculated his Klingon captain in the process - removing him of command without killing him. He turns command of the Klingon ship back over to the captain when he returns and acts insubordinate, allowing the captain to strike him and regain his identity in a display of authority. Quote the second officer: "You understand the Klingons better than I thought." A Matter of Honor is an example of how behavior can accomodate the values of two cultures.


Among the strongest episodes, The Defector (3.10) tells of a Romulan defector who requests asylum from the Enterprise with information about a secret base on a planet in the neutral zone. (The neutral zone is a part of space not inhabited by either entity, so that border colonies may be secure. A base in the neutral zone means the owner would be in striking distance of any number of enemy civilizations.) Chased by his former allies, the defector escapes destruction when his ship barely reaches Federation space and the Enterprise extends its shields to envelop his severely damaged vessel. His problems persist as his information does not seem overtly reliable and the bridge crew realize dealing with the Romulan base which may or may not exist means they will be making the first move. If the base exists, they are justified to destroy it. If not, they are the aggressors and outside the confines of the treaty.

The Enterprise later discovers that the defector is not the low-ranking logistics officer he claims to be, but rather an admiral. The defector withholds other information as well because he does not want to entirely weaken the Romulan army. Rather, his goal is only for the base to be dealt with and war averted; he believes continued war efforts will lead to the demoralization and decline of his people. When he meets with Picard, he is still hesitant but as he re-explains that his defection was meant to benefit Romulus, Picard forces his hand and refuses to act on the possible Romulan base unless given specific information about Romulan technology, and the whereabouts / strengths of Romulan fleets.

The defector does so and Picard appears to act on faith that a Romulan base exists, maneuvering the Enterprise to the planet. (They sent a probe earlier that returned with suspicious information, albeit the probe has limited capabilities.) They do not find a base under construction, which surprises the defector. At this point Picard suspects his superiors must have noticed his behavior and fed him misinformation as a loyalty test. The defector does not initially believe the hypothesis because he has great faith in the intent of his civilization's decisions, even if he disagrees with their methodology. However, two Romulan vessels decloak and verify Picard's supposition. They intend to force the Enterprise to surrender or destroy it as a trophy. At this point Picard reveals that he has brought insurance for the gambit - several Klingon warships decloak, turning the situation into a Mexican standoff. The Romulan general chooses a peaceful outcome and withdraws.

This is a crucial plot reveal because it shifts the episode's focus and sympathy. For the majority of the episode it is understood that we pity Picard in this situation. As captain of the starship, he is compared to a king of Shakespeare. He is the one who must choose between decisions that do not have verifiable answers. He must suffer the guilt for any wrong decisions, knowing that any fatal outcome for the Enterprise was solely his fault. And he cannot even ascertain the morale of his crewmates because they respect him as captain and do not display emotions besides unwavering loyalty, even if they feel otherwise.

Now it is evident that the defector has shouldered the burden. His selfless deed results in nothing, a would-be showdown turned pissing contest between military majors so high-ranked they are too important to die. The defector is branded a traitor by his society, rejected by his people, and stranded from his wife and children back home. He commits suicide but leaves a note to be delivered to his family. Due to hostility between the nations this is impossible, but the letter reveals his faith in future accord between the two. The comparison is that his faith is absolute, versus Picard's which is unavoidably plagued by doubt because of the severe impact being wrong has on his crew. This relationship shows us how the high-ranking maintain the power to make decisions, but the greater will is required by the foot soldier who blindly carries them out and suffers all the consequences. Here, Picard realizes the effective bureaucracy of his position; it is through the individual courage and sacrifice of the insignificant that civilizations are forged.


Hollow Pursuits (3.21), like Lower Decks (7.13), switches focus to a petty officer on the Enterprise. Lieutenant Barclay, dubbed Broccoli, is a nervous wreck who shows up late every day because he's too busy living out fantasies in the holodeck. LaForge and Riker are thinking transfer, but Picard opts for attitude correction - could be Barclay has trouble making a positive contribution because nobody thinks he even can. After all, his performance reviews seem okay elsewhere.

Barclay's holodeck fantasies are pretty much the opposite of what actually happens to him. His programs involve the bridge crew of the Enterprise, fawning over his talents and accepting his tutelage. LaForge gives Barclay some important tasks, thinking his completion of them will provide him a morale boost, but Barclay doesn't appear able. LaForge and Data step in and come to the conclusion the ship-wide problems are probably related. They keep Barclay involved, but he always ends up in the holodeck when there's work to be done. Riker gets fed up and strides into the holodeck in the middle of one of Barclay's programs; at this point he notices Barclay's caricature replicas of the bridge crew. The discovery is comedic when the joke is on someone else, but not so much to be the target. After this incident the derisive nickname Broccoli subsides.

Counseling doesn't work for Barclay either but it enables a breakthrough at a later date. Just as Barclay's social problems are not a deficiency of his environment, but rather himself, Barclay extrapolates that the random malfunctions growing serious on the Enterprise are not systemic, but linked to one or more crew members. Sure enough, the engineering team retraces their steps and figures out someone picked up an ancient contaminant while handling the Enterprise's cargo and spread it around. His success solves both problems simultaneously.

The episode ends with Barclay leaving the Enterprise, only to reveal his farewell was merely another holodeck fantasy. He then deletes his saved programs, except for one; the only thing more human than change is change while keeping one foot firmly planted where you were originally.


A tragedy of patriotism, The Wounded (4.11) takes place on the Federation Cardassian border shortly after the two signed a Peace Treaty. Picard goes to investigate an incident where a Federation ship allegedly destroyed an unarmed Cardassian science station. He learns that the USS Phoenix under the command of Captain Maxwell is in the area. To show his goodwill he accomodates several Cardassians onto the Enterprise so they can see the situation from his point of view. Before he can reach the Phoenix, Maxwell destroys a Cardassian warship and supply ship resulting in almost 700 deaths.

When Maxwell is brought on board, he notices Captain O'Brien, who served with him on the Phoenix during the conflict. This is important because later it is O'Brien who must talk Maxwell out of his aggression. Maxwell explains to Picard that the Cardassians are buying time with the treaty and secretly continuing to prepare for further fighting. His actions were meant to delay war by disabling Cardassians forces, though fighting during peacetime in reality will accelerate war.

To maintain peace, Picard refuses to search Cardassian supply ships for proof. Maxwell threatens to destroy the ship and O'Brien sneaks aboard to talk him out of it. They reconnect through an old war ditty about a bard who is willing to protect his country when few others will. Maxwell surrenders when he realizes the Enterprise is against him and his cause is lost.

After Maxwell is detained, both O'Brien and Picard defend him against the contempt of the Cardassians. His desire to serve his country speaks to positive human characteristics even as his fanaticism accomplishes the opposite. Picard pities that Maxwell is unable to demonstrate his patriotism through actions besides war; Maxwell's behavior was motivated by the death of his family in a Cardassian attack. With them, Maxwell lost a fundamental human trait, for it was a wound from which he could not recover.


Thanks to a number of unwelcome, overheard conversations of casual potheads about HOW WE REALLY CAN'T KNOW ANYTHING FOR SURE and other such mind expanding treacle I've grown to despise the term existential. Nevertheless it perfectly describes episode Conundrum (5.12). The story in Conundrum is that the Enterprise encounters an unknown but weak alien starship who does not seem hostile, simply scanning the Enterprise rather than firing, but soon thereafter employs a weapon that disrupts their computer systems and effectively knocks out the long-term memory of the crew. (They can regain this memory but do not understand how at the moment.) This leaves them able to understand the ship and perform the tasks they specialize in but they have no idea who they are or why they're here. They restore ship functions as well as some of the databanks, which tell them they are on a seek-and-destroy mission towards the capitol of a third party alien race, who according to their logs is their mortal enemy. To make matters worse, the hostile aliens have smuggled aboard a crewman to mislead the Enterprise in light of the ship-wide identity crisis.

Before the crew's memories are wiped, we get a scene with Troi and Data playing an updated variant of chess in Ten-Forward. Data is well-versed in pre-programmed counters to particular openings and moves but loses anyways. Troi cites intuition as the cause of her victory. This foreshadows the conflict that occurs in the main story; having the capability to respond tactically to something is not in itself justification for doing so - we require valid reason to act.

The crew eventually sorts out who's who in the pecking order and make the ship operational again. Prior to this there was a small struggle for the leadership position; Picard had more dots on his insignia but Worf also bore a decorative sash that could indicate rank. Worf takes control on his own accord but later learns he does not have this authority. Picard does not take offense to his actions because they were done with noble purpose.

When the Enterprise encounters an alien vessel of their supposed enemy, they deliberate, but ultimately destroy it, in accordance with the directive shown in their computer banks. Troi is already hesitant about acting with such hostility against other people based on mere say-so, and her intuition is reinforced when they discover the enemy ship was significantly weaker than the Enterprise and years behind in technology.

By the time the Enterprise arrives at its destination, the crew members are skeptical of their "orders" when weighed against the facts and do not fire. This forces the insurgent alien to expose himself and they neutralize him, which confirms that their situation was unnatural. The victory here is one of self-restraint - the ability to discern when action is motivated by false purpose.

The episode also addresses a separate conundrum in a clever subplot. Riker and Ensign Ro have similar personalities but grind each other's gears in everyday ship operation. After their memories are erased, they can't recall any such conflict and grow attracted to each other. However Riker stumbles across evidence in his quarters that he had forged relations in the past with Troi. In the end he cannot choose between current infatuation and the more developed relationship with someone he once found sexually attractive. This is the type of conundrum where every person must choose for themselves.

Friday, July 08, 2011

What Killed the Dinosaurs? Ice Age!



Batman: The Animated Series (1992)

Rating ... B (61)

The opening credits set the stage nicely. Cops and criminals are associated with white and black, respectively, as beams of light from police vehicles penetrate the darkness where shadowy figures are lurking about. Batman arrives to dispatch the criminals yet oscillates between the two shades; as we learn later, his motives aren't entirely altruistic.



More than any other episode, Mean Seasons (3.13) demonstrates the elegant, poetic storytelling for which people fondly remember Batman: The Animated series. By elegant and poetic, I mean the ability to say a great deal without needing a great deal of space (or time) to do it, to the degree that folks regard the brevity of the work as poetic.

From a literal perspective, Mean Seasons is the Batman formula, pure and simple. Villain makes his/her appearance. Villain strikes once more, and once more. Batman apprehends Villain. Aside from perhaps a showdown with a mechanical dinosaur, no incident is longer than is strictly required and the dénouement is curt and stoic.

Mean Seasons is a villain-du-jour episode and its one-timer is Calendar Girl, a mysterious woman with an extensive bag of pyrotechnic tricks who dresses head to toe in solids along with a theatre mask to hide her face. After she wrecks two PR events from different corporations and leaves behind a calendar page with a date circled, Batman's supercomputer is able to cross-reference the data to discover her identity; she's Paige Munroe, a former model and public starling cast aside in favor of younger talent.

Figuratively, Mean Seasons has a lot on its mind. From sleazy producers looking for action on the casting couch, glamorous showgirls, and adults applauding hackneyed youth-oriented TV programming, the episode emphasizes society's natural preference for things to be at their prime, without regard to what is left. This conceit is demonstrated when Batman and Batgirl first encounter Paige's profile through their computer. "Pretty girl," Batman remarks. "Don't you mean, pretty woman?" Batgirl responds. Paige is easily of the age to be called a woman, but Batman reacts to her beauty and thus unconsciously selects the more favorable term.



The Calendar Girl costume Paige dons is also revealing. Because she wears one solid color only, we cannot distinguish detail in her image - we can only see the shape of a woman. Her face is concealed by an emotionless mask, completing the symbolic ensemble. Society desires the abstract of a woman, not one in the particular, and her outfit derisively gives them what they seek.

The episode includes a small subplot about a Wayne Enterprises employee forced to retire by age policy as a companion to the main story. Wayne abolishes the policy and allows the man to stay because he understands the need for the collective to value the individual - not simply the work performed by that individual.



Paige's situation, however, is not so favorable. After kidnapping three corporate bigwigs, intent on killing them in revenge for the way she was treated, Batman arrives to bust up the party. Calendar Girl has pretty good aim with a scythe but Batman defeats her when she becomes distracted; a projector showing clips of her past appearances (intended to show the executives what they took from her) malfunctions when Batman throws a henchman into it, and the image of Paige on the screen evaporates as the film stock burns in the projector. This is the moment Calendar Girl realizes her identity as Paige has been lost; the point when she was let go from these companies was when a strong-willed individual would reject the companies' valuation of her self worth, but unfortunately she chose to reject herself. Upon apprehension, Bullock removes her mask and Paige recoils at the prospect of the public glimpsing her face. Though the episode hinted that her face may have become disfigured or otherwise signficantly altered from her modeling days, we discover that isn't the case. Batgirl sees Paige's face reflected in a shard of broken glass and exclaims, "She's beautiful!" Batman - "She can't see that anymore; all she sees are the flaws." Mean Seasons is an impeccable and economical tragedy about the value of a human life, as determined not by the bearer, but by everyone else.



Highlights from a few others:



Two-Face (1.10) tells the story of how district attorney Harvey Dent became Two-Face. Crusading to be re-elected, Harvey is already having anger issues before an accident disfigures his face and makes his double personality problem visually evident. Dent is tough on crime but his alter ego is twice the zealot, thieving directly from mob boss Rupert Thorne's money laundering fronts out of a mixture of vigilante justice and personal vengeance. There's also another hazy amalgam that concern's Two-Face's motivation; while his deeds are clearly of his own volition, the flip of a coin (chance) is often responsible to determine whether or not, or how much. The dilemma is that both Dent and Two-Face believe his deformation was caused by random chance, and deny that action on his part could have meant otherwise. When Two-Face flips a coin to determine Thorne's fate and Batman throws a box full of similar coins to obfuscate the result, we see the extent of Two-Face's denial as he is literally unable to decide without his coin, despite how he obviously wishes to see Thorne gone. Batman - and Dent's fiance - represent the viewpoint of being able to affect things for the better through human initiative, and he vows to rescue Dent from his worse half, though he'd prefer a little luck in the process. The face showing of the coin tossed into the fountain in the last scene is optimistic towards his efforts.



If You're So Smart, Why Aren't You Rich (1.35) and What Is Reality? (1.43) make a nice Riddler twofer. In the former, Edward Nygma vows revenge on a corporate exec who obtains the rights to Nygma's successful puzzle game via contractual loophole and fires him afterwards to avoid paying him royalties. Batman solves all of Nygma's riddles and saves the executive, but the Riddler remains at large. Wayne Enterprises buys the proposal for Nygma's game, owned by the executive, who pockets a tidy profit, but it turns out the cost of a guilty conscience is worth more than money. And in the latter, Riddler entraps Gordon in a virtual reality world and Batman must enter the game to rescue him. All the while Nygma has been trying to erase his identity in the real world and migrate to VR, where no misfortunes befall him because he makes all the rules. Batman saves the commissioner from the fantasy but not Nygma - how he can learn to accept reality is a riddle nobody else can solve.



There's also Moon of the Wolf (1.38) where Batman battles a scientist with a werewolf serum and a victory-driven athlete who takes the potion for its strength benefits despite the side effects. The scientist withholds the antidote for relieving the athlete of his lycanthropy and won't relinquish it until the athlete does him some favors, and the athlete ultimately attacks the scientist and destroys the antidote in a fit of werewolf rage. Fame and fortune became his with his performance at the Gotham olympics but he gave up his humanity to achieve it; the ironic twist on grass is greener is that the cost of secular reward is that which is required to appreciate it.

House & Garden (2.05) is probably the best example of the series' focus on weird individuals with some desire for normalcy who find a twisted way of going about obtaining it. Mad Love (3.21) focuses on Harley's love affair with Joker, which persists through his abuse and selfishness because of her desire to reform the unreform-able. Other stand-outs include The Last Laugh (1.04), Vendetta (1.20), Nothing to Fear (1.03), Heart of Ice (1.13), and Cult of the Cat (3.15).


Wednesday, November 18, 2009

If You Can't Spetum, Join 'Em



The Legend of Zelda: Link's Awakening (1993)

Rating ... A- (88)

The advent of the Gameboy supplied Nintendo with the opportunity to reimagine many of its signature series in smaller, simpler, and/or younger dimensions, and no game employed the latter of such back-to-basics conceits more gracefully than Link's Awakening, a superlative installment of a uniformly superlative franchise. Though the elements that comprise a video game are purveyed here with considerable imbalance - the game is roughly 99% gameplay, 1% narrative - Link's Awakening remains one of the finest examples of superb mechanics and level design elevated to excellence via the designers' surprisingly lyrical storytelling chops.




Minimalism is not a hindrance to Link's Awakening, whose unadorned story begins with our hero stranded at sea on a piece of flotsam before shifting to a younger version of the warrior waking up in Koholint, an experience outed by the first scene as the delusions of a dehydrated sailor, immediately indicative of the game's intentions to employ such an illusion not to pull the third-act rug out from beneath the player (it was all a dream!) but instead to function as an evocative metaphor on age and maturity. Though predominantly a tale of psychological implications, Awakening's heft is curiously an affair of additive deduction. The relevant gist of the inhabitants of Mabe Village is how their maturity is oddly unrelated to their age. Adults are often eccentric in every sense of the euphemism, culminating with Tarin's single-minded desire for magic mushrooms, while the handful of children enunciate dialogue with jarring tact. Link accepts advice from hilarious kids who offer expert opinions before second guessing themselves on account of their youth - "Well I dunno, I'm just a kid!" - but it's Marin who lets the cat out of the bag when her beachfront confession of jumbled emotions and wistful aspirations betrays her as the the only native with any real concern for the future. With that in mind, we move along to fact number two; namely, that as Link endeavors to break the spell of the snoozing Wind Fish, a canny doppleganger for his childish id, it soon becomes apparent his dream prison will not simply vanish with time, but actually requires the efforts of you, the player. In other words, the significance of Link's Awakening is practically 2 + 2, yet regardless of whether you interpret this expression as simplistic or elegant, the game's wisdom is evident: maturity is not simply a matter of age, but rather one of choice.

Wednesday, October 28, 2009

You've Just Had Your Last Cheesebread!

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Concept courtesy Dan Sallit , with two caveats:

1. if entries += 150, addYear( )

2. Cable e-billing ONLY reduces junk mail if they stop sending you cease-and-desist letters.

Red - Perfect Enough
Orange - Exceptional
Green - Great
Blue - Good
Violet - Gaea's Might Get There


2011
Moneyball (Bennett Miller, USA)
Tabloid (Errol Morris, USA)
Margin Call (J.C. Chandor, USA)
The Ides of March (George Clooney, USA)
Rango (Gore Verbinski, USA)
Season of the Witch (Dominic Sena, USA)
X-Men: First Class (Matthew Vaughn, USA)

2010
Megamind (Tom McGrath, USA)
Diary of a Wimpy Kid (Thor Freudenthal, USA)
Inception (Christopher Nolan, UK / USA)
The Other Guys (Adam McKay, USA)
The Social Network (David Fincher, USA)
Ramona and Beezus (Elizabeth Allen, USA)
Valentine's Day (Garry Marshall, USA)
Casino Jack (George Hickenlooper, Canada)
Summer Wars (Mamoru Hosoda, Japan)
Agora (Alejandro Amenábar, Spain)
Centurion (Neil Marshall, UK / France)
Exit Through the Gift Shop (Banksy, USA / UK)

2009
Astro Boy (David Bowers, Hong Kong / Japan / USA)
Ponyo on the Cliff (Hayao Miyazaki, Japan)
The Informant! (Steven Soderbergh, USA)
Phoebe in Wonderland (Daniel Barnz, USA)
Up (Pete Docter, USA)
Sita Sings the Blues (Nina Paley, USA)
Duplicity (Tony Gilroy, Germany / USA)
League of Legends (USA)

2008
The Girl Who Leapt Through Time (Mamoru Hosoda, Japan)
The Dark Knight (Christopher Nolan, USA)
Bigger Stronger Faster (Chris Bell, USA)
Super Smash Brothers Brawl (Japan)
Presto [s] (Doug Sweetland, USA)
CJ7 (Stephen Chow, Hong Kong)
Woman on the Beach (Sang-soo Hong, South Korea)
Flight of the Red Balloon (Hsiao-Hsien Hou, France)
The Secret of the Grain (Abdel Kechiche, France)
Kit Kittredge: An American Girl (Patricia Rozema, USA)

2007
Baby Blue [s] (Shinchiro Watanabe, Japan)
Live Free or Die Hard (Len Wiseman, USA)
Paprika (Satoshi Kon, Japan)
How the Earth Was Made (Peter Chinn, USA)
The Universe (1.14) - Beyond the Big Bang (USA)
Nancy Drew (Andrew Fleming, USA)
Ratatouille (Brad Bird, USA)
The King of Kong (Seth Gordon, USA)
Lifted [s] (Gary Rydstrom, USA)
Origin: Spirits of the Past (Keiichi Sugiyama, Japan)
Odin Sphere (Japan)
Deep Water (Osmond / Rothwell, UK)
Zodiac (David Fincher, USA)
Vacancy (Nimród Antal, USA)
Doorbell [s] (Yoji Fukuyama, Japan)

2006
Aquamarine (Elizabeth Allen, Australia / USA)
The Prestige (Christopher Nolan, UK / USA)
Kekexili: Mountain Patrol (Chuan Lu, China / Hong Kong)
Flushed Away (Bowers / Fell, UK / USA)
The Devil Wears Prada (David Frankel, USA)
She's the Man (Andy Fickman, Canada / USA)
Casino Royale (Martin Campbell, Czech Republic / Germany / UK / USA)
Brick (Rian Johnson, USA)
Monster House (Gil Kenan, USA)
Duck Season (Fernando Eimbcke, Mexico)
Tristram Shandy: A Cock and Bull Story (Michael Winterbottom, UK)
Three Times (Hsiao-Hsien Hou, France / Taiwan)
Ghost in the Shell: Solid State Society (Kenji Kamiyama, Japan)
The Great Happiness Space (Jake Clennell, UK)
Déjà Vu (Tony Scott, UK / USA)
How to Eat Fried Worms (Bob Dolman, USA)
An Inconvenient Truth (Davis Guggenheim, USA)

2005
Howl's Moving Castle (Hayao Miyazaki, Japan)
Kung Fu Hustle (Stephen Chow, China / Hong Kong)
Sky High (Mike Mitchell, USA)
Steamboy (Katsuhiro Ôtomo, Japan)
Dynasty Warriors 5 (Japan)
Batman Begins (Christopher Nolan, USA)
Pulse (Kiyoshi Kurosawa, Japan)
Wallace and Gromit: The Curse of the Were-Rabbit (Box / Park, UK)
Little Manhattan (Mark Levin, USA)
Caché (Michael Haneke, Austria / France / Germany / Italy / USA)
Who's Camus Anyway? (Mitsuo Yanagimachi, Japan)
Corpse Bride (Tim Burton, UK / USA)
Sisterhood of the Traveling Pants (Ken Kwapis, USA)
2046 (Kar Wai Wong, China / France / Germany / Hong Kong)
Kakurenbo [s] (Shuhei Morita, Japan)
Harry Potter and the Goblet of Fire (Mike Newell, UK / USA)
The Transporter 2 (Louis Leterrier, France / USA)
Grizzly Man (Werner Herzog, USA)
A Tale of Cinema (Sang-Soo Hong, France / South Korea)
Memories of Murder (Joon-ho Bong, South Korea)

2004
Lemony Snicket's A Series of Unfortunate Events (Brad Silberling, Germany / USA)
Harry Potter and the Prisoner of Azkaban (Alfonso Cuaron, UK / USA)
The Incredibles (Brad Bird, USA)
Touching the Void (Kevin MacDonald, UK)
Ghost in the Shell 2: Innocence (Mamoru Oshii, Japan)
Hero (Yimou Zhang, China / Hong Kong)
Spring Summer Fall Winter... and Spring! (Ki-Duk Kim, Germany / South Korea)
Fear and Trembling (Alain Corneau, France / Japan)
Dogville (Lars von Trier, Denmark et al)
Before Sunset (Richard Linklater, USA)
Red Lights (Cedric Kahn, France)
Eternal Sunshine of the Spotless Mind (Michael Gondry, USA)
Unreal Tournament 2004 (USA)
Danny Phantom (USA)
I Robot (Alex Proyas, Germany / USA)
A Tale of Two Sisters (Ji-Woon Kim, South Korea)
Anchorman: The Legend of Ron Burgundy (Adam McKay, USA)
The Life Aquatic with Steve Zissou (Wes Anderson, USA)
Hellboy (Guillermo del Toro, USA)
Crimson Gold (Jafar Panahi, Iran)
Blind Shaft (Yi Lang, China / Germany / Hong Kong)
Raja (Jacques Doillon, France / Morocco)

2003
Nasu: Summer in Andalusia [m] (Kitaro Kousaka, Japan)
Millennium Actress (Satoshi Kon, Japan / South Korea)
X2: X-Men United (Bryan Singer, Canada / USA)
Lord of the Rings: The Return of the King (Peter Jackson, New Zealand et al)
The Cat Returns (Hiroyuki Morita, Japan)
Terminator 3: Rise of the Machines (Jonathan Mostow, Germany / UK / USA)
Master and Commander: The Far Side of the World (Peter Weir, USA)
Dynasty Warriors 4 (Japan)
Holes (Andrew Davis, USA)
Pirates of the Caribbean: Curse of the Black Pearl (Gore Verbinski, USA)
Finding Nemo (Andrew Stanton, USA)
Down with Love (Peyton Reed, Germany / USA)
Disgaea (Japan)
The Fog of War (Errol Morris, USA)
Mythbusters (USA)
Sinbad: Legend of the Seven Seas (Gilmore / Johnson, USA)
Matchstick Men (Ridley Scott, USA)
Red vs Blue (USA)
Gerry (Gus Van Sant, USA)
Lost in Translation (Sofia Coppola, Japan / USA)

2002
Spirited Away (Hayao Miyazaki, Japan)
Guilty Gear X2 (Japan)
Lord of the Rings: The Two Towers (Peter Jackson, New Zealand et al)
Kim Possible (USA)
8 Women (François Ozon, France / Italy)
The Legend of Zelda: The Wind Waker (Japan)
Shaolin Soccer (Stephen Chow, China / Hong Kong)
What Time Is It There? (Ming-Liang Tsai, France / Taiwan)
Roger Dodger (Dylan Kidd, USA)
The Transporter (Corey Yuen, France / USA)
Minority Report (Steven Spielberg, USA)
Full Metal Panic (Japan)
Take Care of My Cat (Jae-eun Jeong, South Korea)
The Emperor's Club (Michael Hoffman, USA)
24 Hour Party People (Michael Winterbottom, UK) Late Marriage (Dover Koshashvili, France / Israel)
The Powerpuff Girls Movie (Craig McCracken, USA)
WarCraft III (USA)
Treasure Planet (Clements / Musker, USA)
Far from Heaven (Todd Haynes, France / USA)

2001
Memento (Christopher Nolan, USA)
Lord of the Rings: The Fellowship of the Ring (Peter Jackson, New Zealand et al)
The Fairly OddParents (USA)
In the Mood for Love (Kar Wai Wong, France / Hong Kong)
Ocean's Eleven (Steven Soderbergh, USA)
Super Smash Brothers Melee (Japan)
Monsters Inc. (Pete Docter, USA)
Fruits Basket (Japan)
For the Birds [s] (Ralph Eggleston, USA)
Advance Wars (Japan)
Band of Brothers (UK / USA)
Battle Royale (Kenji Fukasaku, Japan)
Atlantis: The Lost Empire (Trousdale / Wise, USA)
Gosford Park (Robert Altman, Italy / UK / USA)
Castle Shikigami (Japan)
Touhou: Imperishable Night (Japan)
Suicide Club (Shion Sono, Japan)
Castlevania: Circle of the Moon (Japan)
Training Day (Antoine Fuqua, Australia / USA)
Harry Potter and the Sorcerer's Stone (Chris Columbus, UK / USA)
The Royal Tenenbaums (Wes Anderson, USA)
Devil May Cry (Japan)
Code Unknown (Michael Haneke, France / Germany / Romania)
Ghost World (Terry Zwigoff, Germany / UK / USA)

2000
Crouching Tiger, Hidden Dragon (Ang Lee, China / Hong Kong / Taiwan / USA)
Perfect Dark (UK)
X-Men (Bryan Singer, USA)
O Brother, Where Art Thou? (The Coens, France / UK / USA)
State and Main (David Mamet, France / USA)
The Emperor's New Groove (Mark Dindal, USA)
Even Stevens (USA)
Chicken Run (Lord / Park, UK)
Shanghai Noon (Tom Dey, Hong Kong / USA) Final Fantasy IX (Japan)
As Told By Ginger (USA)
Diablo II (USA)
Tigerland (Joel Schumacher, Germany / USA)
Yi Yi (Edward Yang, Japan / Taiwan)
Gladiator (Ridley Scott, UK / USA)

1999
Alpha Centauri (USA)
Heroes of Might and Magic III (USA)
Futurama (USA)
The Matrix (The Wachowskis, Australia / USA)
The Iron Giant (Brad Bird, USA)
Toy Story 2 (John Lasseter, USA)
Mr. Death: The Rise and Fall of Fred A. Leuchter Jr. (Errol Morris, UK / USA)
American Movie (Chris Smith, USA)
Princess Mononoke (Hayao Miyazaki, Japan)
Chrono Cross (Japan)
Unreal Tournament: Game of the Year Edition (USA)
Super Smash Brothers (Japan)
The Talented Mr. Ripley (Anthony Minghella, USA)
South Park: Bigger, Longer, and Uncut (Trey Parker, USA)
Being John Malkovich (Spike Jonze, USA)
Sweet and Lowdown (Woody Allen, USA)
Blast from the Past (Hugh Wilson, USA)


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Friday, May 12, 2006

It's Super Effective!

(Enemy Blastoise is confused!)



Seven Samurai (100)
Porco Rosso (100)
Fallout: A Post-Nuclear Role-Playing Game (99)
StarCraft (99)
Dazed and Confused (98)
The Legend of Zelda: Ocarina of Time (98)
Aquamarine (97)
Nasu: Summer in Andalusia [m] (97)
Memento (96)
His Girl Friday (96)

Laputa: Castle in the Sky (96)
Final Fantasy Tactics (95)
Spirited Away (95)
Lord of the Rings: The Fellowship of the Ring (94)
Akira (94)
Howl's Moving Castle (93)
"Cowboy Bebop" (93)
The Flight of Dragons (92)
Lemony Snicket's A Series of Unfortunate Events (92)

Pinocchio (91)
Guilty Gear X2 (91)
Patton (91)
Millennium Actress (90)
"The Simpsons" (90)
Lord of the Rings: The Two Towers (90)


Alpha Centauri (89)
The Prestige (89)
Baby Blue [s] (89)
Citizen Kane (89)
Crouching Tiger, Hidden Dragon (89)
X2: X-Men United (88)

The Girl Who Leapt Through Time (88)
The Legend of Zelda: Link's Awakening (88)
Ace in the Hole (88)
Goldeneye 007 (87)
Mad Max 2: The Road Warrior (87)
Raise the Red Lantern (87)
Kung Fu Hustle (87)
Magnetic Rose [m] (87)
"Kim Possible" (86)
Terminator 2: Judgement Day (86)
Super Mario World 2: Yoshi's Island (86)
Groundhog Day (86)
The Castle of Cagliostro (86)
Modern Times (85)

"Star Trek: The Next Generation" (85)

Pulp Fiction (85)
Live Free or Die Hard (85)
Some Like It Hot (85)
Megamind (85)
Before Sunrise (85)

Sky High (85)
Perfect Dark (84)
"The Fairly OddParents" (84)

Stray Dog (84)
Star Wars (Episode V): The Empire Strikes Back (84)
Diary of a Wimpy Kid (84)
Unforgiven (84)

Harry Potter and the Prisoner of Azkaban (84)
Toy Story 2 (84)
Pulse (Kairo) (83)
Star Wars (Episode IV): A New Hope (83)
Star Trek: First Contact (83)
The Wages of Fear (83)
Final Fantasy VII (83)
Rear Window (83)
The Incredibles (83)
Ghost in the Shell (82)
Manhattan (82)
The Big Sleep (82)
The Legend of Zelda: Link to the Past (82)
Touching the Void (82)

Trouble in Paradise (81)
Ghost in the Shell 2: Innocence (81)
Dawn of the Dead (1978) (81)
Heroes of Might and Magic III (81)
Raiders of the Lost Ark (81)

Kekexili: Mountain Patrol (81)
2001: A Space Odyssey (81)
Stalag 17 (81)
Final Fantasy VI (80)
The Night of the Hunter (80)
Sherlock Jr. [m] (80)
Kiki's Delivery Service (80)
The Great Escape (80)
Powers of Ten [s] (80)
Lord of the Rings: The Return of the King (80)

Yojimbo (80)
"Futurama" (80)
This is Spinal Tap (80)


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